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London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
London in Prague: John Griffiths Planning tools
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London in Prague: John Griffiths Planning tools

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London in Prague event at which John Griffiths presented a technique for creating insights without doign research first, a tool for crowdsourcing the interent to learn about new markets. With several …

London in Prague event at which John Griffiths presented a technique for creating insights without doign research first, a tool for crowdsourcing the interent to learn about new markets. With several other communications planning tools

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  • I’m going to rattle through this. Suffice to say that the way ad agencies make money is different from the way DM agencies, design agencies, PR what ever. And if you work as a planner in an agency with a different business model and you don’t understand what that is then you will be roadkill! For example ad agencies love big accounts because they can underservice them and use spare capacity to subsidize small ones. DM and sales promotion agencies love complex accounts because that means more work and bodies to do the work – it’s different
  • Moving on the way each discipline adds value is totally different. Great advertising ideas go on working long after the advertising has stopped running – and genuinely offers the cheapest way to move mass audiences which is why good people get paid so much! In direct marketing a crappy creative pack sent to the right target audience will generate more income than a an award winning creative pack aimed at completely the wrong audience. Targeting is the primary issue for direct marketing. In sales promotion the number of mechanics to choose from is strictly limited – how the target group is drawn in to use the chosen mechanic and ensuring that sales on promotion are incremental to those from existing purchasers – well that’s where planners start to earn their crust.
  • Brands have 3 primary manifestations: They make promises to prospects and customers that tell you what it will be like if you buy/own/use the brand They aggregate groups of people who believe them or half believe them at any rate. Brands generate there income out of these people. Lastly brands are experienced directly when people buy the product or use it or call head office or talk to a member of the client organisation
  • Time was when there were 3 types of business – brand led epitomised by FMCG brand such as Heinz who used advertising to communicate with mass audiences There were media led businesses who generated income through editorial but whose primary income was in providing advertisers with access to their audiences. Lastly there were service led businesses who created experiences for their customers. Time was when there were real doubts as to whether there was any point in service based businesses doing brand advertising. How times have changed! But these days we have come to understand that brands have all 3 manifestations and that integrated campaigns need to address all 3 of them. Every brand makes promises, every brand has a medium of it’s own and every brand is in the service business
  • Advertising adds value to brands as promises to get people to think and feel differently. Direct marketing, and relationship marketing either look to grow the size of the audience or to extract income from it as cost effectively as they can Sales promotion, POS, and interactive marketing get people to behave differently PR and sponsorship fall somewhat between the promise and service stools depending on whether their remit is to communicate mass audiences or to create greater involvement using event marketing.
  • Conventionally, advertising planners concentrate on understanding the consumer mindset because they worked with advertising in area of the brand promise. They function as psychologists within the agency team But when I work in direct marketing I need to work with the medium – the client’s own medium not other peoples. So I need to be adept at quantifying your audience, determining their value, increasing their value and working out how little it cost to do so! I become the consumer accountancy function within the team. When I work in the area of how services are delivered and experienced I have to function as a behaviourist. I become a private investigator, a people watcher. I need to understand what scripts people are using when they interact with the brand and how the script can be amended. And this is how I trained up junior planners – they needed to develop in all 3 areas – they had to be as good with numbers as they were with moderating groups. They had to be able to do this before they could work on integrated business. Otherwise they wouldn’t know where to stand and where to add value.
  • Companies are moving to a much more subtle way of consulting with their different groups of stakeholders. This can be less interventionist than market research has been in the past, more an ongoing conversation
  • Let’s get insightful about insights A market is a conversation between clients and their customers – the words of the Cluetrain manifesto in 1999 Gerald Zaltman was more specific – a market is constructed out of the exchange between the way a client thinks about a market and the way consumers think about it – they have a shared view but they don’t always see eye to eye! The difference between the two is where insights come from – and we want to who in this presentation how the research agency fits as piggy in the middle
  • I find this one of the most helpful way of thinking about markets. Which also explains how research functions because conscious beliefs and unconscious assumptions between marketers and their customers are always drifting in and out of synch. Research plays a vital role in helping to align these.
  • Historically there has been a lot more talking than listening clientside. This seems to be in the process of changing which is what a lot of the social media fuss has been about.
  • Marketers aren’t nearly so far removed from their customers. They run into them in all sorts of places whether they like it or not!
  • Necessarily this changes the role of research because it can’t simply be an inbound channel for getting customer feedback any more.
  • The internet is having a disruptive effect on research. Making it faster and cheaper to do with all the consequences this has for the structuring of the research product. But it is also challenging what research is doing in the first place.
  • Book review read Garth Hallberg’s book All consumers are not created equal which you’ll find on the PAAB site. He uses retail audits to look at the inequalities between different groups. Look also at The Tipping point and Seth Godin’s ideavirus for looking at the differences between different kinds of people. These groups are distinct from each other. Your most profitable customers are not necessarily the ones who buy most frequently or use the most. EG Uncle Ben’s rice pay a 100% price premium because they don’t cook rice very often. Loyalty is based on lower weight of usage. When looking at payback scenarios for mailed promotions for Pizza Hut had to recognise that the greatest increase in consumption would come from medium weight purchasers. The issue for the higest volume group was that they were more promiscuous because they didn’t’ want to pauy Pizza Hut Premiums. They couldn’t physically eat a lot more Pizza! Some people experiment a lot more cos they get bored. Some people are a lot more interested in watching TV commercials than other people. In advertising this phenomenon has been virtually ignored. When dealing with micro markets it could be the difference between success and failure. Viral marketing theory distinguishes between people with strong social connections. People who are fountains of information, and people who are persuasive. Get 3 of these in a sequence and your message will travel through the population.
  • Our second take is to develop propositions from the customer point of view The right brain left brain too is a starter to find out what you know or think you know about customers (left brain) and then what you think you might do to tap into the insights you have generated (right brain). Fill in the questionnaire as best you can. You won’t know all answers. It doesn’t matter. Just make them up – but then go and check your facts. Then start to write propositions which will attract their interest. Using results from questionnaire…turn your insights/understandings/assumptions into propositions
  • Who is the mentor here and who is the apprentice Is BMW making IPOD respectable and serious? Or is IPOD making BMW trendy? A $300 device makes a $60,000 car cool again!
  • Madonna and Britney demonstrated a blindingly good example of a strategic partnership – at the MTV awards 2 years ago a high profile snog rejuvenated the queen of pop – while securing the credentials of the pop princess, their audiences would have been intrigued enough to sample the music of the other artist generating sales for both – not bad for 3 seconds Justin Timberlake’s career is a masterclass in audience swaps with a series of high profile partnerships with rappers, R&B and mainstream pop though some have accused him of losing his touch with Janet . I’d like to give you 4 examples to illustrate how brands can start to engage with audiences and generate new revenue streams using media content
  • The market is one of the toughest – what can you say to sell water – when its safe to drink from the taps? You choose the drivers
  • The first thing we have to recognise about brands is that they are not made up of nouns and adjectives. Brands are verbs and do things. We perceive brands to be different because they behave differently
  • Here’s a conventional plot formula. Which is designed so you can write your script i21 days and 120 pages Articulate the theme – introduce the cast, bring on a crisis, the character often with the help of a mentor has to change and grow, the character commits to a new goal, often there is then a second crisis which shows they don’t yet have the qualities to achieve but back they go and face the final challenge which of course they overcome. End of movie. Now whether this is a cliché or not this is a storyline structure which we are very familiar with and which we happily go to the cinema to watch over and over again. There are other story structures but this is probably the most common one. So it is a useful one over which to overlay a character – a set of competitors and the development of the main character
  • Here’s Christopher Vogler’s version – the one he used to rescue the Lion King script among others Notice how similar it is to the other one – just more detail
  • How is it done? We go to Hollywood! There are lots of books and courses written for aspiring screenplay writers. The great thing about them is that they use formulas and provide lots of examples. According to them all the best films work in exactly the same way. Whether or not this is true it is very useful for doing character development for brands! Firstly we need to recognise that there are different types of story – just as there are different markets. And within these markets the characters have a lot in common – This is the territory of genre. In the workshop format I tend to work with the epic genre where a hero triumphs against opposition to achieve or finish a journey. And because most brands are trying to win over other brands this is a useful genre to work in. You can learn a lot from switching genres to explore what your characters are capable of – I call this genre flipping. Put your character in en epic, then in a western then in a gothic horror movie. Then we start with our lead character using an existing brand character template Thirdly we assemble the cast - very basic characters for the other leading brands in the market. And overcome one of the basic problems of brand character – no reference is made to the competitive context And no reference is made to the category or market where the brand competes. This is why most brand characters/essences are identical to one another. They are generic By developing a cast and talking about genre we split out the character from the competitive environment and the category. 4. Then we recognise the character needs to develop Nobody wants to watch a character who never changes (apart from advertising audiences perhaps??) So in a story the character changes and evolves – we don’t just want to watch action – we expect to see the character change Lastly we come on to plot in stories the character sets out to achieve something or go somewhere and usually has obstacles to overcome and changes to make to get there. Even more important in most stories the character tries to achieve the goal without changing and fails and then in the process of the story they discover the new values and skills they need – with these they go on to get to the goal and end the journey. This is a classic structure
  • The Cloud of Knowing project came about to address the growing use of web content in research. There is now so much data across so many platforms that it is inevitable that marketers are using it more and more. But its use has been problematic. There are issues around sampling – who is posting the content? How can we find out about them. How do we decide who is representative ? Are we required to ask their permission ? are we bound to protect their anonymity if we never recruited them in the first place? And as our ability to gather this data is virtually instant we are moving to real time research where there is no time to validate – to ask for permission – Research without asking questions . Whatever may be researchers’ misgivings, marketers are striding in to grasp this data with both hands. If we hang back we don’t prevent the use of this data – what we risk is irrelevance as companies make it central to their way of working.
  • Camcorder – professionals turned up in the sample Flatpack furniture – registered blind person. Also an architect from leading global firm. What if researching shampoo chose to recruit bald people. Outlier problem – nobody is normal What IS normal on the web? – no consensus on what is average – qualitative significance
  • TELL
  • Transcript

    • 1. Crowdsourcing, insight sourcing and other planning thinking.. John Griffiths www.planningaboveandbeyond.com Nov 30 th
    • 2. A bit about me www.planningaboveandbeyond.com www.accountplanning.net Planning Above and Beyond Development Research Training Workshop Facilitation Comms Planning
    • 3. Hotel Babylon emails
    • 4.  
    • 5.  
    • 6. Agenda <ul><li>10.00 a brief introduction to account planning.. </li></ul><ul><li>11.00 insight generation: left brain right brain tool </li></ul><ul><li>12.30 lunch break </li></ul><ul><li>13.15 Waggledancers – strategy as collaboration </li></ul><ul><li>3.00 Cloud of Knowing: Swarming a community of interpretation </li></ul>
    • 7. Planning: a function for adding value <ul><li>An agency role which is not functionally essential to the making of advertising material </li></ul><ul><li>One of the earliest attempts to import the customer perspective </li></ul><ul><li>At its most effective the more junior the people doing it (senior expertise is hard to access and expensive </li></ul><ul><li>A way of thinking and innovating </li></ul><ul><li>Anybody can do it – this is not a departmental function (like creativity?) </li></ul>You can use planning thinking
    • 8. Half truths about planning <ul><li>It’s a job some people do at the agency </li></ul><ul><ul><li>True but it’s a way of working – everyone in the agency does this particularly with experience – the planner can’t do it all. </li></ul></ul><ul><li>Its about the consumer </li></ul><ul><ul><li>True but its also about a lot of other things – marketing, branding, channel planning </li></ul></ul><ul><li>Its about research </li></ul><ul><ul><li>True but it’s about a lot more: any techniques for understanding and evaluating consumers is relevant– there are planners who actually reject research because they say it doesn’t do these things </li></ul></ul><ul><li>Its about intellectualising how advertising works </li></ul><ul><ul><li>True and this can be useful for selling work to clients but ivory tower planning doesn’t add value and those guys are really a pain in the .. </li></ul></ul>
    • 9. History of Account Planning – where it began <ul><li>In the beginning – Stephen King and Stanley Pollitt </li></ul><ul><li>Two schools of planning </li></ul><ul><ul><li>the marketers </li></ul></ul><ul><ul><li>the ad tweakers </li></ul></ul><ul><li>The two faces of strategy </li></ul><ul><ul><li>Simplifying </li></ul></ul><ul><ul><li>Optimising </li></ul></ul><ul><li>The impact on research </li></ul><ul><ul><li>The rise and rise and rise of the focus group </li></ul></ul>
    • 10. As it went on <ul><li>Planning outside of advertising – the new specialists </li></ul><ul><ul><li>design/direct marketing/ sales promotion/sponsorship/PR </li></ul></ul><ul><li>Integrated communications/Media neutral Planning </li></ul><ul><li>Communications Planning </li></ul><ul><ul><li>Space Race/2020 Jim Taylor </li></ul></ul>
    • 11. Planning outside of the UK <ul><li>Planning has spread worldwide like a virus!! </li></ul><ul><li>USA – Jon Steel Truth Lies and advertising </li></ul><ul><li>Elena Ionita –Wash and go Leo Burnett Bucharest </li></ul>
    • 12.  
    • 13.  
    • 14.  
    • 15.  
    • 16. Nov 12 th 2007
    • 17. Planners in other areas <ul><ul><li>John Grant New Marketing manifesto, Co-opportunity </li></ul></ul><ul><ul><li>Adam Morgan – Eat the big fish, Pirate inside </li></ul></ul><ul><ul><li>Mark Earls - Herd </li></ul></ul><ul><ul><li>Planners clientside - Diageo </li></ul></ul><ul><ul><li>Planners in research – Brainjuicer, Mesh </li></ul></ul>
    • 18. And then there’s Russell Davies.. http://russelldavies.typepad.com/planning/2006/11/how_to_be_inter.html Founder of Interesting The first planning blogger Coffee mornings
    • 19. Account planning .. what’s the point of it? <ul><li>Global </li></ul><ul><li>Curious </li></ul><ul><li>Eclectic </li></ul><ul><li>Self organising </li></ul><ul><li>Counter cultural </li></ul><ul><li>Generous </li></ul>Every business needs planning thinking!!
    • 20. how each discipline makes its money - IT VARIES Advertising Media commission Fees related to media spend Biggest accounts Discipline Making money Making profit Direct Marketing Construction and operation of bespoke medium: account handling/targeting Complex accounts Sales Promotion Construction and operation of bespoke mechanic: account handling Complex Mechanics (any size) Sponsorship Fee proportionate to size of sponsorship Biggest Accounts Complex accounts Construction and operation of bespoke medium: account handling/targeting Web based
    • 21. how each discipline adds value – IT VARIES Advertising Effective creative work that creates mass awareness/involvement Discipline Adding value Direct Marketing Effectiveness of targeting and ability to solicit response and conversion Sales Promotion Effectiveness of mechanic and appeal to the trade and the client Sponsorship Leveraging higher awareness at lower cost than advertising Reducing interaction costs OR Leveraging higher Involvement Web based
    • 22. The Integrated Model 1. The brand as promise 3. The brand as experienced directly by the consumer 2. The brand as medium   
    • 23. How the Elements Have Been Used in Isolation Product led business Service led business Media led business E.g. Ryvita Eg The Economist Eg Asda   
    • 24. Where the Disciplines Add Value Advertising Sales Promotion Point of sale Customer satisfaction Direct marketing Database marketing CRM loyalty    PR Sponsorship
    • 25. How the person doing the planning adds value in each area Psychologist Private Investigator Accountant   
    • 26. Listening to customers <ul><li>An early and core planning role </li></ul><ul><li>Planners functioned as research buyers </li></ul><ul><li>They often ran qualitative research themselves </li></ul><ul><li>This role is changing as communications is spreading in all directions </li></ul>
    • 27. The need to consult and be consulted STAKEHOLDER ECONOMY
    • 28. Markets are conversations Cluetrain manifesto Companies and their employees aren’t moving fast enough – So their customers are working around them
    • 29. Markets are co-creations The mind of the market emerges from the interaction of consumers’ and managers’ conscious and unconscious minds Gerald Zaltman How Customers think The researcher’s job is to facilitate by getting in the way! conscious conscious Unconscious Unconscious
    • 30. There’s a co-ordination problem <ul><li>Are the departments talking to each other? </li></ul><ul><li>Who is setting the agenda? Clue – it’s the budget controller – may be none of the above </li></ul>Marketing Research Customer service X X
    • 31. And a proximity problem <ul><li>Research used to be carried out because companies were so far from their customers </li></ul>
    • 32. Customers getting up close.. <ul><li>Now clients can‘t move without meeting customers: on the website, on help lines, writing letters of complaint, starting Facebook fan groups </li></ul>so does this mean that research is obsolete or has to become something else?
    • 33. The internet… <ul><li>Makes research faster </li></ul><ul><li>Makes research cheaper </li></ul><ul><li>Destroys the foundations of research </li></ul>
    • 34. Lumpy Mass Audiences and the 80/20 Rule – which lumps do you need on your side? <ul><li>Profitability </li></ul><ul><li>Weight of usage </li></ul><ul><li>Frequency of purchase/usage </li></ul><ul><li>Loyalty to a given brand or subset of brands </li></ul><ul><li>Propensity to try new products </li></ul><ul><li>Promotionally responsive </li></ul><ul><li>Pay attention to advertising </li></ul><ul><li>Level expertise/knowledge </li></ul><ul><li>Sociability and connectedness </li></ul><ul><li>Persuasiveness </li></ul>Audiences are NOT equal – some 5 times more polarised than the rest
    • 35. How we describe customers .. <ul><li>Website development requires a customer description based on goals and behaviours </li></ul><ul><li>Demographics and attitudes hard to validate online </li></ul><ul><li>So why use them as a discriminator? </li></ul><ul><li>Volume of internet marketing means that goals and behaviours will become normal descriptors for customer segments even offline </li></ul>The old way The emerging way Behaviours Attitudes Goals Demographics
    • 36. Making up Customer insights <ul><li>You DON’T need research to get customer insights </li></ul><ul><li>Brainstorm the insights then use research to validate them – much quicker, easier and with far more radical results! </li></ul>Toyshops that kids can play in
    • 37. Audience Insight <ul><li>Where does it come from? </li></ul><ul><ul><li>You can get insights out of market research </li></ul></ul><ul><ul><li>You can generate insights yourself and research them afterwards (quicker and cheaper) </li></ul></ul><ul><li>When should you get it? </li></ul><ul><ul><li>When you are developing your proposition and positioning </li></ul></ul><ul><ul><li>When you want to know about the usability of the creative ideas you are using to convey the proposition and positioning – can the audience use them? </li></ul></ul><ul><li>Using the Audience questionnaire </li></ul><ul><ul><li>Answer questions even if you don’t know the answer – that is the purpose – to draw out your assumptions and to get you to think creatively and generatively about the audience – you can always check your facts later with a survey </li></ul></ul>
    • 38. Left Brain Right Brain Exercise <ul><li>Holistic understanding of the audience </li></ul><ul><li>how they think about the product </li></ul><ul><li>Their attitudes to life </li></ul><ul><li>BUT ALSO </li></ul><ul><li>What they know and think about the company </li></ul><ul><li>How they spend their leisure time and what this tells us about them </li></ul><ul><li>How they process communications </li></ul><ul><li>How they store communications </li></ul>
    • 39. Exercise – Getting into people’s lives <ul><li>Complete questionnaire </li></ul><ul><li>If you don’t know the answer then improvise – you can always check your guess later </li></ul><ul><li>Left brain right brain exercise </li></ul><ul><li>On the left hand side put a summary of the learnings from the audience questionnaire </li></ul><ul><li>On the right hand side brainstorm what the brand can do to connect with the customer insights of the left </li></ul>ACCESS YOUR UNCONSCIOUS ASSUMPTIONS!
    • 40. Customer insight Why should they? left brain right brain exercise Who are they What do they want? What is going to Attract their interest? Questionnaire results Think of things the brand could do for them
    • 41. Lunch time
    • 42. Introducing the waggledancers project <ul><li>Alternative take on account planning </li></ul><ul><li>Planners as collaborators and facilitators </li></ul><ul><li>Skillset that any company would want to hire </li></ul>Planners do it by themselves.. NOT
    • 43. 1 st law of planning <ul><li>We aren’t necessary to the production process </li></ul><ul><li>We have to add value over and above </li></ul><ul><li>Strategists enable the group to focus its resources more effectively = they make the group more powerful </li></ul>
    • 44. The Waggle Dance Source: Francis L. W. Ratnieks
    • 45. Waggle Dance: Angle of Flowers to Sun Source: Francis L. W. Ratnieks
    • 46. Waggle Dance: Angle of Dancing Bee to Vertical Source: Francis L. W. Ratnieks
    • 47. Dance Duration Encodes Distance Source: Francis L. W. Ratnieks
    • 48. Honey Bee Waggle Dance Dancer (forager) Dance Followers (unemployed foragers) Source: Francis L. W. Ratnieks
    • 49. 3 skills of the strategist <ul><li>Find where the nectar is </li></ul><ul><li>Make others want to find it too </li></ul><ul><li>Waggledance well so they can find it for themselves! </li></ul>LOCATION MOTIVATION COMMUNICATION
    • 50. Waggledancing is growing out of control! <ul><li>Planning is now expanding faster than we can measure into agencies round the world and into every type of communications </li></ul><ul><li>There are even planning departments clientside – there ought to be a lot more </li></ul>
    • 51. 6 planning territories Interaction Reputation Messaging Content Channels/ Networks Audiences Planning triangles are SO 20th century..
    • 52. Swarm ideas <ul><li>Build your own peer/respondent network </li></ul><ul><li>Trading partners – tool for finding partner brands </li></ul><ul><li>Brand peleton – tool for generating propositions </li></ul><ul><li>Brand screenplays </li></ul><ul><li>Finding out what the swarm thinks.. And into the Cloud of Knowing project </li></ul>
    • 53. Building your own peer/respondent network <ul><li>Research communities perhaps the hottest thing in qualitative research now </li></ul><ul><ul><li>Fusion of qual and quant </li></ul></ul><ul><ul><li>Always on – can last for a week or a year </li></ul></ul><ul><ul><li>Interactive for both clients and participants </li></ul></ul><ul><ul><li>Customers can set the agenda </li></ul></ul><ul><ul><li>Multimedia </li></ul></ul><ul><ul><li>Global </li></ul></ul><ul><li>Make your own – for free </li></ul>
    • 54. Relevant websites <ul><li>www.ning.com </li></ul><ul><li>www.webjam.com </li></ul><ul><li>Or start your own facebook group! </li></ul><ul><li>Use for workshops before and after </li></ul><ul><li>Use to get more out of research groups </li></ul><ul><li>Use for workgroups </li></ul><ul><li>Examples </li></ul><ul><ul><li>http://www.webjam.com/waggledancers </li></ul></ul>
    • 55. Trading partners – brand and media partnerships <ul><li>More to branded partnerships than 4 week sales promotions! </li></ul><ul><li>Brands can exchange </li></ul><ul><ul><li>Values </li></ul></ul><ul><ul><li>Content </li></ul></ul><ul><ul><li>Audiences </li></ul></ul><ul><li>And share customer contact points to make an added impact </li></ul>
    • 56.  
    • 57. Strategic Partnerships – Britney & Madonna show how it’s done! (in 3 seconds) <ul><li>Common contact point – MTV Awards </li></ul><ul><li>Exchange </li></ul><ul><li>Values </li></ul><ul><li>Content </li></ul><ul><li>Audiences </li></ul>
    • 58. Partner Profile Tool <ul><li>Values </li></ul><ul><li>Shares Wants </li></ul><ul><li>Content </li></ul><ul><li>Shares Wants </li></ul>Contact Strategy Shares Wants Audiences Shares Wants
    • 59. Peletons Positioning and propositions
    • 60. The positioning enigma <ul><li>Marketers don’t position brands people do! </li></ul><ul><li>To position your brand you need to persuade your audience to reposition it </li></ul><ul><li>A proposition is shorthand for what you say to persuade your audience to reposition you </li></ul><ul><li>Snooker is no different! </li></ul>
    • 61. Introducing the Peleton
    • 62. Working with the pack
    • 63. Category marketing <ul><li>Requires you to think about how to build the category not just the brand </li></ul><ul><li>The stronger the peleton the stronger your brand can be </li></ul><ul><li>But you need to position the brand inside the peleton </li></ul><ul><li>Its not always about being different – sometimes it is better to be close </li></ul>
    • 64. Market Positioning Premium / Luxury Mid-market / mass- market Authentic / craft /traditional Manufactured / modern Napier Neal’s Yard Origins L’Occitane Aveda Tisserand Duchy Originals Crabtree & Evelyn Boots Body Shop M&S White Company Jo Malone Daylesford REN Molton Brown Penhaligons Liz Earle Lush
    • 65. The positioning exercise <ul><li>Choose 2 ‘drivers’ – reasons why customers buy products in your market </li></ul><ul><li>Plot them on x and y axes </li></ul><ul><li>Then plot where your brand is and also your key competitors </li></ul>
    • 66. Now write your proposition <ul><li>Pick one axis to compete on </li></ul><ul><li>Be the best on that dimension or </li></ul><ul><li>Be better than a competitor strongly associated with that dimension </li></ul>
    • 67. Market Positioning position 2 Premium / Luxury Mid-market / mass- market Authentic / craft /traditional Manufactured / modern Napier Neal’s Yard Origins L’Occitane Aveda Tisserand Duchy Originals Crabtree & Evelyn Boots Body Shop M&S White Company Jo Malone Daylesford REN Molton Brown Penhaligons Liz Earle Lush position 1
    • 68. <ul><li>Positioning 1 – sample proposition </li></ul><ul><ul><li>Handmade from traditional Provencal recipes </li></ul></ul><ul><li>Positioning 2 – sample proposition </li></ul><ul><ul><li>Give your skin a holiday in the south of France </li></ul></ul><ul><li>The acid test – are you convinced it is strong enough to reposition your brand? </li></ul>
    • 69.  
    • 70. Positioning Water - exercise <ul><li>How do you make a water stand out? </li></ul><ul><li>Brands </li></ul><ul><li>Spa </li></ul><ul><li>Evian </li></ul><ul><li>Volvic </li></ul><ul><li>Highland Spring </li></ul><ul><li>Ogo </li></ul><ul><li>Voss </li></ul><ul><li>Vittel </li></ul>Possible Drivers Purity Refreshment Lifestyle
    • 71. Brand screenplays Brand = Verb
    • 72. Brand screenplays <ul><li>In an age where free content dominates branded behaviour has never been so important </li></ul><ul><li>Be interesting! </li></ul><ul><li>Have a point of view! </li></ul><ul><li>Tell a story! </li></ul><ul><li>Brand narratives is a workshop technique for identifying branded storylines using movie writing techniques </li></ul>
    • 73. Narratives versus bunions <ul><li>We’re not being rational… </li></ul><ul><li>Everyone knows stories – level playing field vs marketing and branding </li></ul><ul><li>The characters are different from each other </li></ul><ul><li>Characters change and develop and make choices </li></ul><ul><li>Conflict and opposition is what drives the character </li></ul><ul><li>They’re far too rational! </li></ul><ul><li>There’s no storyline </li></ul><ul><li>There is no distinction between the brand, competitors and the category </li></ul><ul><li>Characters are supposed to be consistent </li></ul><ul><li>There’s never any conflict (unreal or what?) </li></ul>
    • 74. Archetyping
    • 75. Archetype of www.planningaboveandbeyond.com  Jon Howard
    • 76. Archetyping and branding <ul><li>Pearson and Mark: Psychotherapy meets branding and advertising development </li></ul><ul><li>Archetypes or stereotypes? </li></ul><ul><li>Insight tool or sales technique? </li></ul>
    • 77. Archetypes and narrative <ul><li>Hollywood employs archetype consultants to create ‘successful’ storylines usually the epic </li></ul>
    • 78. Epic in 120 pages.. Act 1 Act 2 Act 3 120 Page 45 90 10 60 75 30 3 1 The central question Introducing the cast Character has to change Final challenge Character commits to new goal The growth of the main character Conclusion The life changing event Vicki King: How to write a movie in 21 days
    • 79. The hero’s journey model Act 1 Act 2 Act 3 the call to adventure Tests allies and enemies The road back Climax Reward (seizing the sword) Ordeal Crisis Approach to inmost cave the ordinary world refusal of the call mentor arrives first threshold Resurrection Return with the elixir Christopher Vogler The writer’s journey
    • 80. How is it done? <ul><li>Genre </li></ul><ul><li>The lead character </li></ul><ul><li>Cast </li></ul><ul><li>Character development </li></ul><ul><li>Plots </li></ul>
    • 81. You can do it in a single scene <ul><li>Know the character of your protagonist </li></ul><ul><li>Choose a genre </li></ul><ul><li>Choose a cast list </li></ul><ul><li>Make a scene which involves the whole cast eg the card party in Pride and Prejudice – which of several female characters leaves a lasting impression on Mr Darcy and why? </li></ul>
    • 82. Putting it to work <ul><li>Always allow enough time to ask – what were the keys to the development of the character and how the narrative brought the character to success </li></ul><ul><li>And make enough time to brainstorm real life applications </li></ul>
    • 83. Brand Narrative Applications <ul><li>Brand development </li></ul><ul><li>Communications development (particularly through the line) </li></ul><ul><li>Creating branded or company storylines which play out in national media and become public entertainment </li></ul><ul><li>Product Innovation </li></ul>
    • 84. Other swarm stuff <ul><li>http://www. brandtags .net/browse. php </li></ul><ul><li>www.taggalaxy.de </li></ul><ul><li>www.wefeelfine.org </li></ul><ul><li>Sizing the audience: become a Facebook advertiser temporarily </li></ul>
    • 85. Co-with everything Co-creation Research Communities Bulletin boards Blogs
    • 86. Cloud of Knowing Face to face meetings Next one due in July Sharing papers Open source project http://www.webjam.com/cloud_of_knowing Remit to consider how online content can be incorporated robustly into market research
    • 87. Web content The questions we need answers to SAMPLING RESEARCH WITHOUT QUESTIONS PERMISSION % OF BUSINESS DECISION SUPPORT REAL TIME ANONYMITY REPRESENTATIVENESS
    • 88. Cloud of Knowing <ul><li>The incorporation of web content as part of research </li></ul><ul><li>Issues of representativeness </li></ul><ul><li>Outlier problem – nobody is normal </li></ul><ul><li>What IS normal on the web? – no consensus on what is average – qualitative significance </li></ul><ul><li>Issues of permission </li></ul>
    • 89. The outlier issue camcorder shampoo flatpackfurniture
    • 90. Rachel Lawes – sample the culture Don’t sample the population Sample the culture Think how to sample yoghurtness – not a balanced sample of yoghurt eaters Dr Rachel Lawes
    • 91. There’s a storm brewing in the research industry <ul><li>Direct access to customers </li></ul><ul><li>What is the role of researchers as intermediaries? </li></ul><ul><ul><li>Recruitment?  </li></ul></ul><ul><ul><li>Interviewing skills? </li></ul></ul><ul><ul><li>Analysis and interpretation </li></ul></ul>
    • 92. The difference between what the client thought as she left the last group and what she thought at the end of the debrief presentation A&I: What is it worth?
    • 93. time to bring A&I into the open and put it on the outside where clients can see it!
    • 94. Its Analysis AND interpretation What kinds of music do you play here? Oh We got both kinds.We got Country AND Western
    • 95. Technically, two processes <ul><li>Analysis </li></ul><ul><li>Interpretation </li></ul>Through revisiting and applying different filters Analysis works to exhaust the meaning Through working outwards from micro to macro perspectives – interpretation is about finding the story so as to show the big picture
    • 96. Build a community of interpretation
    • 97. Crowd sourcing analysis and interpretation <ul><li>Because of the power laws amplifying a small network </li></ul><ul><li>Significance comes from validation at the interpretation stage – building a single version </li></ul>
    • 98. Benefits <ul><li>Speed – simultaneous analysis </li></ul><ul><li>Culture sampling – broader range of inputs </li></ul><ul><li>Embraces contrasting perspectives </li></ul><ul><li>Can handle outliers – extreme data sources </li></ul><ul><li>Provides a way to integrate online data </li></ul><ul><li>Respondents (and marketers) can be used as co-interpreters </li></ul>
    • 99. Analysis exercise: Barracuda swarm! <ul><li>We’re going to swarm a transcription from many angles in 5 minutes then pull it all together! 10 barracuda teams </li></ul><ul><li>B1 significant Quotations - underlines </li></ul><ul><li>B2 Comparison T with D – likes and unlikes </li></ul><ul><li>B3 themes: Roller coaster - sorting </li></ul><ul><li>B4 Weight watchers – customer experience - map </li></ul><ul><li>B5 focus on T’s feelings about herself </li></ul><ul><li>B6 God – what help is T asking for? </li></ul><ul><li>B7 Social: shared with other respondents </li></ul><ul><li>B8 silences – human aid and acquaintances who aren’t overweight </li></ul><ul><li>B9 Culture – obesity discourse </li></ul><ul><li>B10 Cf T’s photos and hand written captions with the transcription </li></ul>Obesity transcription – bulletin board postings on the diet roller coaster by T and D
    • 100. The signal is amplified and balanced
    • 101. How it might look <ul><li>Instead of linear projects run by teams of 1-2 researchers </li></ul><ul><li>Have 1 day of data gathering then 1 day of analysis and interpretation with 5 analysts </li></ul><ul><li>Increase speed of project turnaround and increase depth of analysis </li></ul><ul><li>Draw together complementary perspectives in analysis </li></ul><ul><li>Apply different filters at the interpretation stage </li></ul>
    • 102. Practical example of online swarming <ul><li>Google, Bing, Yahoo cf Google Alert </li></ul><ul><li>Amazon – sales info, customer reviews, what else bought </li></ul><ul><li>Ebay – new and second hand </li></ul><ul><li>Wikipedia – what does it say and who said it? </li></ul><ul><li>Flickr photos or YouTube videos – official/unofficial </li></ul><ul><li>Facebook – official and fan pages </li></ul><ul><li>Twitter – what are they saying? </li></ul><ul><li>Blogpulse – blog analysis tool </li></ul><ul><li>Delicious/Stumble Upon/Digg – tagging (& potential user analysis) </li></ul><ul><li>Squidoo – who is behind it </li></ul>
    • 103. Flip
    • 104. Summary <ul><li>Account planning.. I hope you know a bit more about it now! </li></ul><ul><li>Now you can generate insights BEFORE doing research </li></ul><ul><li>I hope you now see the value of strategy but something that belongs to the group not the individual – collective thinking is more powerful </li></ul><ul><li>And you have a online swarming tool using the web to sample the culture </li></ul>
    • 105. In Conclusion <ul><li>What single thing will you do differently to change your working practice? </li></ul><ul><li>What are you going to start doing as a result of today? </li></ul><ul><li>Is there anything you are going to stop doing as a result of today? </li></ul><ul><li>How will you know when that change has made a difference? </li></ul>
    • 106. The power of the many.. <ul><li>Is just as relevant to our working processes as it is to external markets </li></ul><ul><li>What could you do next to leverage it? </li></ul>www.webjam.com/cloud_of_knowing john. griffiths @ paab .biz www.researchtalk.co.uk/rt/category/series/jgshow/ Cloud of knowing site: Podcast: Website: www. planningaboveandbeyond .com

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